• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.10a
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• pp.147-150
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• 2005

Arata Isozaki is one of Japan's most important contemporary architects with an international reputation and has designed notable buildings in Asia, Europe, and the United States. The study was aimed to identify the key characteristics implied in his overall design concept. Through the analysis of his works, the key features underlined in his works were characterized by five key words, which are tradition, eclectic, metaphor, metabolism and proportion . These five characteristics have been well presented in his works individually and sometimes as a whole. His unique combination among these key design concepts has been impressed by many other architects in worldwide. Through in-depth analysis of his design philosophy, this study raises a foundation for further studies on exploring an optimal solution for the harmonization between tradition and globalism.

• Journal of Korean Philosophical Society
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• no.116
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• pp.251-281
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• 2017

The Parmenidean tradition of logos which previous researches fail to fully appreciate has three dimensions of reality-knowledge-discourse. Parmenides is not just an ontologist, as the traditional view emphasizes, but also an epistemologist, as the revisionist view begins to emphasize, and, at the same time, a meta-discourser, as those two established views fail to embrace. In order to reach the third view which fully grasps such a dynamic and integrated feature of Parmenides, we should closely pay attention to the organic interconnectedness of three discourse parts of truth-doxa-proem, especially the significance of proem and meta-discourse. In the Eleatic tradition of discourse, the figure who clearly appreciated and further developed such an authentic feature of Parmenides' discourse is not, as one might easily expect, one of the second-generation Eleatics, but Gorgias who has commonly been positioned at the opposite side of Eleatism. This paper investigates how he actually both innovated and succeeded the Parmenidean tradition of logos; especially, it characterizes his discourse as an antilogy(antilogia) from within the tradition: as a 'devil' advocate' who complemented and completed Parmenidean persuasion by positing the Parmenidean tradition of logos as an arena of a huge intellectual discipline and cultivation, offering himself as a sparring partner to it, and bringing up an antilogy. In the process of this antilogy he performed in his rhetorical speeches such as the Encomium of Helen and the Defense of Palamedes he experimented and examined a possibility of persuasion operating independently from truth, which, however, is not merely sacrificing truth in favor of persuasiveness and probability (to eikos) as Plato criticized mainly focussing on his 'philosophical' writing On not-being. Rather, it was an 'opposition for opposition's sake' and serious play which purported to provide balance and flexibility to contemporary intellectual society which had too much inclined towards truth and knowledge and become stiff and to put weight on the opposite side of mainstream. It is wholly our eranos (i.e. our share of contribution) to summon and examine such sophistic tradition for the sake of the task of our times, not for the sake of Plato's task, that we should build up a healthy culture of discourse where we can share serious play.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.152-164
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• 2014

Korean people have revered the white color and enjoyed wearing white clothes. Various kinds of white clothes have been worn by the Korean people, ranging from everyday wear(便服), and scholar's robe(深衣) for the upper class, to religious costumes like Buddhist monk's robe(僧服), shaman costumes(巫服) and costumes for ancestral rites(祭服), or mourning(喪服). There have been many differing opinions by historians regarding the background of this Baekeuihosang(白衣好尙, the preference for white clothing) tradition and even now, it is frequently being discussed. This study aims to consider and discuss the background of this Baekeuihosang tradition, focusing on Chang-seon Yoo's Baekeuigo(白衣考, the consideration of white clothing), which was published in Dong-A Ilbo in 1934. The purposes of studying literature such as the Baekeuigo is to analyze the arguments on the origin of Baekeuihosang, to analyze Chang-seon Yoo's claim of its origin, and to discuss the culture of Baekeuihosang. Chang-seon Yoo claimed that the existing discussions on the background of Baekeuihosang based on the lack of dyes, or undeveloped technique, economic privation and national control strayed from historical facts, according to literature review. It is not worth discussing the farfetched arguments such as the use of costumes for ancestral rites as everyday wears, or the nation of sorrow. Baekeuihosang tradition mostly originated from the effects of many religions and the taste for innocence, or naturalness. White clothes were infused with the sorrow and emotion of Korean people and were also worn to show resistance to foreign power as symbols of ethnicity. Therefore, there should be a new view of the discussion of white clothes and Korean aesthetic sense, away from the logic distorted by the Japanese colonial view of history.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.4
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• pp.1-15
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• 2007

The purpose of this study is to mate a basic foundation for the discourse of Koreanness of contemporary Korean landscape architecture by way of searching the conceptual definitions of Koreanness through analysis of Koreanness discourses. The results are that discourses of Koreanness are to be classified in aesthetics type, spatial-temporal type, and cultural type. Aesthetics type is understood as style in terms of formal and design representation planning principles of spatial composition and immanence in terms of philosophy. Spatial-temporal type is understood as contemporaneity. This is classified as the concept of connoting of tradition, and separating and keeping a distance from tradition. Cultural type is prescribed as cultural identity. This is classified as unity, generality and individuality. The intension of Koreanness of these types is represented as an aspect changing and shifting from one regulation to another regulation. First, in the concerns of substantial archetypes like Korean original form, decorative element, spatial composition aesthetic perception and philosophy, Koreanness shifts to the point of view of contemporaniety which is created and defined in history. Second, Koreanness as contemporaniety shows a trend of shifting the point of view which is to be found through the reconsideration on modem history and modernism. Third, Koreanness defined as cultural identity shows a trend to emphasize the differences in other cultures and includes all the modem cultural agents. The number of views understood as individuality and denial are small but provide important points. Programmatic definition of Koreanness is not suitable. This basic study uses a stipulative or operational definition of Koreanness in many ways such as spatial and regional identity. Koreanness study for Korean contemporary landscape architecture requires a systematic understanding of modernity and colonization relating to identity. Also, it is needed to elaborate on the discourse to divide the meaning of a concept of identity.

• Proceedings of the Korea Society of Design Studies Conference
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• 2001.05a
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• pp.32-33
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• 2001

• The Journal of Korean Medical History
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• v.26 no.1
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• pp.9-18
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• 2013

This study examines the meaning of classical texts in contemporary society. Drawing on an anthropological investigation of Somun Hakhoe, an association of Korean medicine doctors in South Korea, and its foundational text "Somun Daeyo", the present study explores the interconnectedness of medical texts and medico-social practices in bringing medical tradition into the contemporary era. The themes that author Lee Kyu-joon emphasizes in "Somun Daeyo" are thoroughly embodied in Somun Hakhoe's medico-social practices, such as the study activities based on "Somun Daeyo"(in particular, on Somun Buseol, the five articles written by the author, attached to "Somun Daeyo"), the focus on Buyang theory(扶陽論), and the distinctive feature of composing formula. The ethnographic data collected about the group activities of Somun Hakhoe also demonstrate that the social relationship of the teacher and disciples plays an important role in bringing East Asian medicine into the present. This study articulates the significance of the interaction between the classical text and the medico-social practices around it. The dynamism taking place in the interaction points to the "living tradition" actively flowing rather than being static in the past. This study illustrates the close relationship between medical history and medical anthropology and encourages more studies of classical texts based on the intimate relationship between the two disciplines.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.3 no.2
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• pp.93-119
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• 2024

The introductionof Won Buddhism to the United States has reached its fifty-year mark. Brought to the West by Korean kyomus (Won Buddhist clergy), these initial Won Buddhist clergy set a foundation for future ordained devotees to reside in America and further the religion's mission. Innovation has always played an important role in the formation and growth of Won Buddhism. The founder, Sotaesan, declared the necessity to reform traditional Buddhism to make it accessible to the laity and espoused values such as inclusiveness, equality, public work, and practicality. Over the past few decades, these innovations have helped Won Buddhism in America to shift from a strictly ethnic-related context to an emphasis on its universal nature. However, as the religion continues achieving a foothold in Western soil, critical questions arise such as how can Won Buddhism honor its Korean origins while becoming increasingly international? What are the detriments to decontextualizing and de-emphasizing elements thought to be "too Korean" or "too traditional," or thought to be irrelevant in the West? When Buddhism spreads to a new country, it not only influences the culture it enters but is also shaped by the adopting culture. In American history, this has often meant the erasure of Asian cultures that were home to Buddhism for millennia and from which the dharma is inextricable. I argue in this article that if Won Buddhism is to thrive in the United States conscious consideration will have to be given to the indispensable aspects of its Korean roots and tradition while connecting with the current circumstance in fresh, relevant, and effective ways that include the multi-cultural and ethnic makeup of the US. This entails understanding American history and Asian Buddhism's history in America, as well as cultivating a competency or fluency in the cultures that allowed Won Buddhism to survive for decades.

• Journal of architectural history
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• v.6 no.1 s.11
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• pp.67-79
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• 1997

Architecture is a shelter for society whose social pattern requires a specific form to accord with its material and spiritual needs. Providing a truly acceptable architecture requires our deeper understanding of cultural tradition - mythic values - not only because myth is an interpreted and configured form of 'thing' through man's second nature, such as his subjective and objective consciousness -'self-revelation of the absolute'- but also because, in the world of mythical imagination, a fragment of substantial reality -'thing'- becomes an equivalent mode to the signification, and emerges as 'its independent spiritual form' and 'the characteristic force of the logos.' In this sense, myth of place and myth behind tectonic form are the most essential sources for comprehending people's relationship to the world of inner and conscious experience. The recent efforts of modern architects to achieve cultural continuity should begin with re-interpretation and configulation of the myths behind describable material culture, especially artistic imagination inspired by deeper understanding of the myth of place. Myth provide artists with a creative inspiration, as they did in the past.

• International Journal of Costume and Fashion
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• v.13 no.1
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• pp.49-59
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• 2013

This research study investigates the cultural significance and meaning of Thai Mudmee, their historical content, and the variety of the Thai Mudmee techniques, including patterns, symbol and colours. The aim has been to develop the traditional pattern and designs of the Thai Mudmee and produce contemporary textile pieces more appropriate for modern lifestyle tastes both in Thailand and Internationally. By reviving the Thai weaving tradition it is also hoped to encourage and maintain the continuous survival of tradition Mudmee, providing new sales opportunities and markets both in Thailand and abroad. Studying various attempts to redevelop traditional crafts in different countries brought to me the idea of how to develop folk crafts, the problems that occur in this area have encouraged me to express how folk crafts could be benefit from the design process. In this thesis I also express my recommendations for other researchers and the Thai government, as well as other people who interested in Mudmee design. The thesis concludes with the possibilities of how to improve the design of the Mudmee fabric and further areas of research.

• Journal of the Korea Furniture Society
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• v.21 no.4
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• pp.293-303
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• 2010

With changing systems of wealth creation around the 21st century, crafts(traditional and industrial crafts) are affected by the trend of changes or lead the trend, that is to say, a turning point of paradigm has come. Values of crafts give the value of users, and the tradition and modern coexists in the trend of times changing from the tradition to the modern so crafts artists’ works are diversified and used in design industries. Based on a place of expression showing various beauty of crafts, identity of design is established through ‘Craft Consilience’ of intangible cultural assets, master craftsman, crafts artists, crafts industries, and crafts departments. As master craftsman and furniture designers meet together to mix master craftsman’s idea with designers’ idea, the new Korean crafts furniture is suggested.